Part 3 · Production department on set · Lesson 5 · 5 min read

Running the set — call times, walkies, safety, weather and wrap

Production’s work that keeps the camera rolling

Running the set starts with getting call times and locations to everyone on the call sheet the day before. On the day, split walkie channels by department and keep traffic short, and manage foot traffic and noise around set within what you were allowed. Before the first setup, hold a safety briefing covering hazards, emergency contacts and the nearest hospital. Plan an interior cover set in case the weather turns, and after wrap, restore the location and log the day. When production handles all this, the director and camera team can focus on the picture.

한국어로 읽기日本語で読む
Course outlinePart 3 · Lesson 5 · 11/49
  1. Part 1 · Production flow3
    1. 1How a production works
    2. 2Pre-shoot checklist
    3. 3How to make and read a call sheet
  2. Part 2 · Production office3
    1. 1Budgeting and cost reports
    2. 2Sponsorship and product placement
    3. 3Rights clearance
  3. Part 3 · Production department on set6
    1. 1The production department
    2. 2Locations, permits and neighbors
    3. 3Transport, catering and lodging
    4. 4Cast and background
    5. 5Running the set
    6. 6Petty cash and receipts
  4. Part 4 · Assistant directors and script6
    1. 1The directing team and its day
    2. 2Script analysis and directing prep
    3. 3Building the shooting order
    4. 4Rehearsal and blocking
    5. 5On-set calls and setup order
    6. 6Script supervisor notes and continuity
  5. Part 5 · Camera7
    1. 1Shots, angles and composition
    2. 2Setting exposure
    3. 3Choosing lenses
    4. 4Formats and frame rates
    5. 5Camera movement gear
    6. 6Camera team roles and the day
    7. 7Monitoring and data
  6. Part 6 · Lighting and grip6
    1. 1Lighting basics
    2. 2Choosing light
    3. 3Lighting fixtures
    4. 4Stands and mounting
    5. 5Shaping light
    6. 6Safety and setup order
  7. Part 7 · Art, costume and makeup5
    1. 1The art department and production design
    2. 2Dressing sets and locations
    3. 3Props and continuity
    4. 4Costume
    5. 5Hair, makeup and SFX makeup basics
  8. Part 8 · Location sound5
    1. 1Choosing mics
    2. 2Boom operating
    3. 3Gear setup, power, wireless
    4. 4Location sound
    5. 5Sync, timecode, sound reports
  9. Part 9 · Post-production4
    1. 1Editing workflow
    2. 2Color grading
    3. 3Post sound
    4. 4Delivery specs
  10. Part 10 · Distribution3
    1. 1Theatrical, streaming and TV distribution
    2. 2Preparing festival submissions
    3. 3Sales, rights and press materials
  11. Appendix1
    1. ·Korean set slang
Illustration of a production crew member in a vest with a walkie on a street corner, holding up a hand to pause pedestrians while a crew with a camera and boom mic shoots across the street
AI-generated illustration

Getting call times out

The ADs usually prepare the call sheet the day before, and production adds location, parking and meal details before it goes out. Check that people opened it, and if anything changes, send a new version with the changes marked. A call time changed by word of mouth always gets missed by someone. On the morning, check who has arrived by department, and call anyone who hasn’t shown up yet first.

Walkie etiquette

  • Split channels — set a shared AD/production channel and department channels, and announce them on day one. Move long conversations to another channel.
  • Keep it short — say who you’re calling and who you are first, then your message in one sentence.
  • Quiet while rolling — once you’re rolling, say only what is essential. Earpieces keep radio chatter out of the sound.
  • Batteries — rotate charged batteries, log how many walkies went to whom, and collect them at wrap.
Example production walkie calls — exact wording varies by set
SituationWhat you say and what it means
Right before a takeLocking it up — hold foot and car traffic at each lock-up point
After cutRelease the lock-up — open the way at once and thank people who waited
Traffic comingCar coming through — a signal to hold the take for a moment
Leaving your postStepping off for a moment — name who covers you before you go

Lock-ups and the safety briefing

Lock-up layout (top view, concept): a street runs across with a side street branching down. The camera position (camera and actors) sits on the street, ringed by a dotted control zone covering the permitted area. The monitor sits inside the zone. A PA stands at the left and right street entrances and at the side street entrance to guide passers-by. Truck parking is outside the zone at top right; basecamp and holding are outside at bottom leftControl zone (permitted area)1Camera positionMonitor2PAPAPA3TrucksParkingBasecamp · holdingGear · HMU · waiting4
Lock-up layout (concept, top view) — a control zone surrounds the camera position, and a production PA stands at each way in to guide passers-by.
  1. 1Camera position — where the camera and actors move.
  2. 2Monitor — where the director and crew watch the picture (video village).
  3. 3Lock-up PAs — stand at each way in, ask people to wait and point them around.
  4. 4Basecamp and holding — keep gear, hair and makeup and holding away from set.

A lock-up means asking passers-by to wait a moment. Take the roll cue over the walkie, hold people only for that moment, and open the way as soon as you hear cut. Let people in a hurry, older people and anyone with children through ahead of the shot.

  • The day’s hazards — traffic, work at height, power and water, special effects, moving heavy gear
  • Safety lead — who can call a stop, and the principle that anyone can stop work
  • Emergency contacts, nearest hospital and where the first aid kit is
  • Assembly point and vehicle evacuation route
  • Weather — heat and cold precautions and breaks

Weather and other curveballs

Check the weather the day before and that morning, and decide in advance on interior scenes to shoot if rain or wind gets bad, so you don’t lose the whole day. Keep rain gear, canopies and equipment covers in the production van at all times. If an actor is late or something changes at the location, rework the order with the ADs and announce the change right away on the walkie and by message.

  • Rain — set a time in advance to decide whether to switch to the cover set or wait, so you aren’t stuck deciding all day.
  • Heat — add shade canopies, water and breaks, and cut the time actors wait in costume.
  • Cold — prepare heated holding, blankets and hot drinks, and keep gear batteries warm.
  • Sunset — move exterior day scenes earlier so they finish before the light goes.

Wrapping out

  • Restore the location using your before photos
  • Clear trash, tape marks and floor protection
  • Walk through with the owner and thank them
  • Collect walkies, props and lost property
  • Log the day — first shot, lunch, camera wrap, wrap-out, delay reasons, notes

In the PDNote production report, you log first shot, lunch start and end, camera wrap, full wrap-out time and reasons for delays for each shooting day, plus notes like accidents, equipment issues and complaints.

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